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Archives 2008
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Re: Pandanallur C. Subbaraya Pilai - Dec 7, 1914 - May 12, 2008
Posted by Arul Francis on May 12, 2008 at 16:59:42:

In Reply to: Pandanallur C. Subbaraya Pilai - Dec 7, 1914 - May 12, 2008 posted by Arul Francis on May 12, 2008 at 13:10:53:

some articles from the papers about him:

(1) nandini ramini

http://www.hindu.com/ms/2004/12/01/stories/2004120100050300.htm

(2) gowri ramnarayan

http://www.hindu.com/fr/2003/10/03/stories/2003100301780400.htm

(3) rupa srikanth:

http://www.hinduonnet.com/thehindu/fr/2002/05/10/stories/2002051001040800.htm

(4) my own personal blog:

http://csp-and-i.blogspot.com
Pandanallur C. Subbaraya Pilai - Dec 7, 1914 - May 12, 2008
Posted by Arul Francis on May 12, 2008 at 13:10:53:

Pandanallur C. Subbaraya Pilai, one of the towering figures in the field of classical Bharata Natyam, passed away on May 12, 2008. He was one of the greatest and most authentic "nattuvanars" in the full sense of the term.

He lived out his role as a Guru with great dignity and restraint. He consistently refused to cave in to the swings of fashion. Although he turned out osme of the leading dancers he himself maintained low profile and was averse to celebrity seeking of any kind. He was a staunch traditionalist and would not dabble in fads or fashions, and although immensely gifted as a choreographer, he always worked within a very narrow range of possibilities that he had inherited and would not change any of what he called the "hands" or abinaya for his great pieces.

In every step or choice he made throughout his life and career, he was a model of integrity, both artistic and personal. He faced many choices that tested his integrity - such as pressure to change his pieces to suit the whims of an employer early in his youth, and in his mid-life, pressure from a major patron who was also one of his stars, to be the "local" nattuvanar while another nattuvanar was used for tours abroad. In all these cases, he had the backbone and resolve to stick to his principles and walk away from situation which would compromised his dignity and self-respect as a Guru.

Loyalty meant everything to him. He was fiercely loyal to the memory of his forefathers and was determined to preserve and protect their heritage. Thus, he never got into the fray of "contemporary choreography" - such as dance dramas or group shows or anything of that sort - but always held himself apart from such things and stuck to the material that he had inherited. He was also very loyal to his students and he expected the same in return. For example, students from the past whose prospects of a career were dim, he would lavish time and teaching on them. However, stars or famous people who had broken away and gone to other nattuvanars or teacher, he would politely but firmly end the professional relationship irrevocably.

He himself was born into a family of leading nattuvanars, one might almost say, the "First Family" of nattuvanars, with his apprenticeship being at the hands of legendary Minakshisundaram Pilai. Despite all this pedigree, he was a man of great humanity and broad-mindedness. During the eleven years in which I spent the winter months in his house as his disciple, I noticed that within his classroom everyone was treated the same, rich or poor, regardless or caste or creed, the same rules applied to all.

Master wore his greatness very lightly - he never made any fuss or put on any airs or sought out any celebrity. Perhaps because he was born to it, and raised surrounded by some of the finest quality of dance, he just took it for granted and for him it was something natural, in his blood. His approach to his art was direct, simple, straight to the point and very matter of fact.

Posted by Tara on April 28, 2008 at 16:45:13:
In Reply to: dgree in bharathanatyam posted by degree on April 26, 2008 at 10:56:01:

The Maharaja Sayajirao University of Baroda provides BA / MA in dance.

The Department is offering courses like Degree (UG), Master Degree (PG), Diploma and conducting PhD Programme.
Re: Offensive remarks about senior classical dancers!
Posted by Raji on April 01, 2008 at 16:42:50:

I am not seeing the offensive tone if any. Its the truth.

Offensive remarks about senior classical dancers!
Posted by Sowmya on April 01, 2008 at 10:12:49:

Namaskaram.
I was shocked to read on http://rasikas.org/viewtopic.php?id=5199 R.Shankar's remarks about senior classical dancers:
"Even aTTamIs are tough to discern, and more importantly, lack grace, when a gazelle-like neck becomes hidden in a cephalo-thoracic body!"

Re: hi can someone answere these questions for me.
Posted by GS RAJAN on March 30, 2008 at 15:38:13:

In Reply to: hi can someone answere these questions for me. posted by Priya on March 27, 2008 at 21:50:21:

Arangetrams have become a easy announcement of a daughter ready for marriage.

Arangetram factories all over the world gives the impresion to a student that they are ready to conquer the scene.

As long as innumerable teachers finding a living through arangetram and parents ready to spend money let this business flurish.

True art, involvement, dedication etc. can wait till a proper guideline is drawn by expertand those who manages art in Government.

Dont worry. Let the sabha secretaries have a cold coffee with an young dancer in their old age. Let the musicians get a new sari on the occasion of arangetram. Let the guru get a lumsum amount.

Long live parents - long live arangetrams.....

Re: hi can someone answere these questions for me.
Posted by K.Meera on March 29, 2008 at 01:47:12:

In Reply to: hi can someone answere these questions for me. posted by Priya on March 27, 2008 at 21:50:21:

: What is the importance of arangetram?

Just an official debut performance. Like a premiere of a new film.
The difference is that your arangetram is going to be watched ONLY by your relatives, your parents' co-workers, neighbors, your schoolmates, and a couple of chief guests who do not understand anything about arangetram but who will deliver long and meaningless speeches in the middle of your arangetram so that half of your relatives would have enough time to sneak out and run away, away, away from that boredom!

: 2. Is arangetram such a grand event that the expenses should be almost like a marriage?

If you have more money that you can spend, you must spend as much as you can. So, for 1 bottle of water you can pay Rs.10 or Rs.30000, depending on how much needless cash you have. If people buy a little stone for Rs. 50 lakh, they can spend two times more on the arangetram.

: 3. Why has arangetram become a mere qualification to add to a marriage CV?

The more formal qualifications you have, the happier your marriage will be. This is at least what all stupid people think. After all, your husband will not let you dance after the wedding is over.

: 4. Is it a short-cut to keep in touch with the Indian culture?

Yes, also it is a status token.

: 5. Why is knowledge of Indian culture connected to arangetram?

If your child does not know anything about the India culture, you can boast to your neighbors about her arangetram.

: 6. Is arangetram the termination of the learning phase?

Of course! Now you can start your own school and send your expensive guru to hell!

: 7. Once arangetram is over students think that they are experts. Why?

This is what their gurus try to convince them about. Otherwise, the students would ask, "Why on earth have we spent so much of money, time and effort, and still have not learnt much????"

: 8. What can be done to save the real ethos of arangetram?

Just be a proud Indian. If anyone asks you why you are proud, tell him that we are just like that - proud, and that's all.
Why didn't you ask, "what can be done to save the real ethos of bharatanatyam"?

Does one need to be educated to appreciate abstract art?`
Posted by Manvantara on March 20, 2008 at 09:26:35:

This sentence by Bruno Kavanagh, in his recent article in the Hindu (on "The Absent Lover"), is making me wonder if one needs to be educated to understand and appreciate abstract art.
"India embraces and celebrates abstraction — indeed worships it (think lingam) — and yet many educated Indians come away somewhat puzzled when confronted by what might be loosely termed more Western expressions of abstraction."
Aren't there times when we are struck by the beauty of a tune/dance/painting, even though we cannot really "understand" it?

Re: Re article: Encores to a late-starter
Posted by Megha on March 18, 2008 at 12:02:59:

In Reply to: Re article: Encores to a late-starter posted by Manvantara on March 06, 2008 at 14:49:37:

I am glad Padma ji wrote the mostly positive review and gave Dr. Joytsna the publicity. She was the opening artiste in Music academy and was really brilliant.

What struck me was that there was newspaper review the next day that said she need more 'azhuttam' etc. which i felt was nit picking... so i am truly grateful to Padma ji for giving Jyotsna ji a (in my opinion, very well deserved) good review.

Generation of late-starters.............................
Posted by Madhu on March 06, 2008 at 21:03:08:

In Reply to: Re article: Encores to a late-starter posted by Manvantara on March 06, 2008 at 14:49:37:

OK, so what if many talented children in India start at the age of 5 and some reach amazing heights of mastery by the age of 14? When they are in their 10th to 12th Standards, 99% of these masters virtually stop practising the dance. So they lose 90% of their "amazing heights", their face loses 90% of the expressions, their body loses flexibility, sensitivity to music, their joints do not move at all, their minds forget about how to become fully involved and sincere while dancing an item.

If they want to continue to dance, they have to re-start from scratch. This is why Jyotsna Jagannathan is no different from others.

Re article: Encores to a late-starter
Posted by Manvantara on March 06, 2008 at 14:49:37:

I am wondering why the author (Padma Jayaraj) mentions Jyotsna Jagannathan as a "late" started - each one pursues the art form at a time when they are ready - there is no rule about it, is there?
Personally, I'd rather watch the performance of a person who is mature and deeply into the art, than an immature 10 year old performing (perhaps well) but not old enough to go deep yet.

Who is to say what is "late"?!
In my mother's generation (she is in her 60s), once a woman got married and children, there was no way she'd ever come back to dance (if she was a dancer, to begin with, which was itself a big controversy). These days, things have changed, with many men supporting their wives to be dancers/dance teachers, so we have a lot more people in their 30s or 40s dancing, right?
What about Priyadarshini Govind - a current example of a person who came on to the recital scene "late"? Does that matter? What matters is her dance and how much joy/how elevating it is to the rasika.

No, it is not correct to term anyone as a "late-starter".
Re: aharya abinaya
Posted by Sangeetha on February 22, 2008 at 06:39:06:

In Reply to: aharya abinaya posted by mallika on February 22, 2008 at 03:56:56:

"Yes, the jewellery worn by a dancer have a special significance: The 'chandran' and 'sooryan' (moon and sun) worn on the top of the head signify that their beauty and grace have descended upon the dancer. The 'thalai saaman' (chutti) emphasises the line of the forehead. The 'maatal' (worn covering the ear) is to protect the eardrums. The 'Maanga malai' worn on the chest above the navel prevents pulmonary disorders. The oddiyanam (belt worn around the waist) keeps the spinal chord straight. Bangles protect the wrists, rings encourage philanthropy and anklets give strength to the ankles of the dancer." Prof. (Smt.) Sudharani Raghupathy in Kutcheribuzz

aharya abinaya
Posted by mallika on February 22, 2008 at 03:56:56:

is there a meaning of each piece of jewelry worn by a dancer? and of the dress?

Re: making a good network
Posted by Sangeetha Shyam on February 20, 2008 at 20:58:14:

In Reply to: Re: making a good network posted by Prasanna Kasthuri on February 20, 2008 at 13:11:10:

My sincere regards and best wishes. Will pass the word around.

Re: making a good network
Posted by Prasanna Kasthuri on February 20, 2008 at 13:11:10:

In Reply to: Re: making a good network posted by anita ratnam on February 20, 2008 at 08:55:48:

I have just received quite a bit of response in one single day. I am opening a small Yahoo group, which can be joined by any one, with a serious mind for this cause. Please feel free to send me an email at prasanna@sooryadance.com. The Yahoo group - "indiandanceexchange" - will be a place where we can discuss and decide what we have to do. We know, we can do better.....

Re: making a good network
Posted by anita ratnam on February 20, 2008 at 08:55:48:

In Reply to: making a good network posted by Prasanna Kasthuri on February 20, 2008 at 03:36:19:

Congratulations on a great initiative. I hope that you have a good response. Let me know if there is anything I can do to help all of you young women and men out there. Dancers should unite. I have been saying so often. It is time that you join hands to break the unhealthy nexus created by the sabhas.
good luck!
anita ratnam
www.narthaki.com

making a good network
Posted by Prasanna Kasthuri on February 20, 2008 at 03:36:19:

In Reply to: Re: Connecting the dancers... posted by manini on February 19, 2008 at 17:40:01:

Dear Friends,

Time has come for all classical dancers to prove that they can come closer to people's heart through their simplicity and perfection. I understand each Bharathanatyam dancer goes through quite a gruelling years in attaining a performance status. Most of us have the habit of looking at the Sabhas to do lot of our performances. Although it is essential that this is needed, but lot of things can be accomplished by mutual appreciation and helping. The reason I am saying this is, most of us forget to return the our thanks to our own creed by not encouraging ourselves.

We can do these things by making our demands lesser and keeping the quality more in a decent level. With these days, with CDs and beautiful pre-recorded music, we can perform really well with very low cost. So, if we can setup a network of performances in-lieu with any western dance network, we can do a better job. We need to think beyond ourselves for enrichment of our art. Lets remove our insecurities and see if we can simplify and perform better and reach more people and win their hearts. These ventures are only possible by helping each other, meanwhile not bankrupting them.

My city's doors are open as long as the artists are not too demanding, and able to manage with what ever we can afford them. You need to win the hearts of traditional Rasika's and as well as the new audiences. You may need to think out of the box and start something different. We all should know that we are the tradition at present generation. we prefer solos or duets. We know, we can only manage small performances.

If you are coming to St. Louis, MO , please send me your details. Meanwhile, remember, I will be seeking the same help from you. This way we can build a network and look forward for a decent touring, which is the soul of an artist.

I am not asking this relationship for a short term, but for a long lasting one, which should withstand the test of time and support the dance world. If you are one of us, please send me your thoughts to my email- prasanna@sooryadance.com.

Madura Tillanas
Posted by Megha on February 15, 2008 at 18:19:03:

The 3 volumes of Madurai N Krishnan's Tillanas choreographed by Smt. Sudharani Raghupathy are simply incredible.

It is not only very well shot, with splendid costumes but has very nice solo as well as group choreography. Most of all, i did not get bored of watching all the 3 dvds of about 20 tillanas at a stretch. In fact, i could not wait to watch the next one. It is because of the brilliant music and most importantly incredible choreography and neat execution by all the dancers.

More dance and less talk, imaginative sensitive camera angles, more coverage of the entire dancer than just the face places where you want to see footwork and simplicity of the set making it easy to watch.

I think it is very good value for money, great enteratinment in your living room and makes a great gift. I gave it to my non dancer friend and she enjoyed it and came back with - this number is my favorite etc. etc.

This is my humble opinion. Please form your own.

Sincerely,
Megha

Re: vocalist in Karana Viniyoga Malika DVD?
Posted by ram on February 15, 2008 at 00:52:33:

In Reply to: Re: Karana Viniyoga Malika DVD posted by Nimisha on February 14, 2008 at 22:03:58:

so who was the vocalist?

Re: Karana Viniyoga Malika DVD
Posted by Nimisha on February 14, 2008 at 22:03:58:

In Reply to: Karana Viniyoga Malika DVD posted by Tara on February 14, 2008 at 18:51:18:

This DVD is hugely different from Suryanarayanamurthy's DVD. I like Karana Viniyoga Malika very much, it gives a lot of viniyogas, and the material is arranged in very professional way. Did you watch that little clip from this DVD that Sangeetha uploaded on Youtube? OUt of the 2 hours, half of it is dancing video where they actually show all the karanas. My only wish is that Sundari should have given all (not just 20% as in this DVD) demonstration to her students, some of whom are very talented and dance very gracefully. Unfortunately, Sundari is not even half as fit as Alarmel Valli, so she mostly gives you only "hints" of a karana. It is enough if you know what the proper movement should be. I think that our senior dancers should know when to retire gracefully. I suggest that you should not copy Sundari's expressions. By the way I did not buy this DVD from Kalakendra. I bougt it from JayQ. A good bargain. Another thing I like about this DVD is excellent vocal, this girl is the best singer that I heard, but they did not write who was the singer in the credits. Guess, was it intentional? Audio and video are great. I recommend you buy it. Some people who watched it say that many karanas in this DVD are not done properly even according to P.Subrahmanian's book. But up to date this DVD is surely the better instructional DVD that I know. A must-have for every dancer! I heard a few other schools are in production of their own DVDs on Karanas, so it will be very interesting to compare.

: Did some one buy the Bharanrtyam Karana Viniyoga Malika DVD from Kalakendra.com? If so, can you provide your comments about the DVD?
:
: Thank you.
Tara

Re: tanjore quartette and vazhuvoor

Posted by usha ravindranath on March 06, 2008 at 18:05:31:

In Reply to: tanjore quartette and vazhuvoor posted by manini on February 03, 2008 at 23:23:34:

: can a composition by tanjore quartette be performed in vazhuvoor style? then, what is tanjore style of dance, if vazhuvoor has deep sitting positions and abhinaya with a slight bent forward and etc, what differentiates tanjore style from other styles. pls clarify.

Hai
The styles of bharathanatyam is all based on one natya shastra.In those days people migrating to dfferent places developed there own style of dance
according to individual capacity and ablity. hence so many styles.It is rukumani devi after all the reseach
has formed definite form which is very useful for any student.there after any individual can develop his own style
usha
Re: tanjore quartette and vazhuvoor
Posted by natyavaruval on February 04, 2008 at 18:45:19:

In Reply to: tanjore quartette and vazhuvoor posted by manini on February 03, 2008 at 23:23:34:

Such in Odisi is more on gradualy rithmatics domain relatif to thanjvur resonances...

tanjore quartette and vazhuvoor
Posted by manini on February 03, 2008 at 23:23:34:

can a composition by tanjore quartette be performed in vazhuvoor style? then, what is tanjore style of dance, if vazhuvoor has deep sitting positions and abhinaya with a slight bent forward and etc, what differentiates tanjore style from other styles. pls clarify.


Re: censorship policy
Posted by manini on February 04, 2008 at 18:18:34:

In Reply to: Re: censorship policy posted by angeli on February 04, 2008 at 13:23:19:

what is the point u r trying to make. that anita keeps few posts and deletes some? sure she knows it in her heart. one cant lie to oneself. but when she talks, she atleast makes sense. then its all relative,u like someone if they agree to what u say. i like bharatanatyam2dance.wordpress, also sangeethas. she has started something onlinebharathanatyamacademy.wordpress.com.promieses a lot. i am sure going to keep a watch.
in this forum, i have noticed, if some query is there regarding dance, there are not many responses, but for some waste topic, there is a long thread. pity. so many queries go unanswered here, some serious ones.
anyway, some of the above mentioned sites are harsh but mostly true, not everybody is totally right or wrong. if say such dancer is good at dance(lets for gods sake leave their personal life to them to sort out), its relative, just like beauty. one like a particular style or way of dance or its just at that time that the dance and dancer strikes to the rasikas and the rasika feels he/she saw the best dance. most of the time, this is what happens is what i feel.


Re: javalis
Posted by Deepti on April 02, 2008 at 21:52:44:

In Reply to: javalis posted by anyonymous on January 31, 2008 at 23:58:46:

I follow the Mysore School of Dance & have learnt Javalis directly & indirectly (from my Guru) from Late Dr. Venkatalakshamma who was an Asthana Vidushi at the Mysore court for 30 years. She was not a Devadasi but a court dancer. My Guru Smt. Lalitha Srnivasan has also learnt from Jetti Thayamma who was a senior to Dr. Venkatalakshamma. I can say that our tradition of Javalis, padams & Ashtapadis are truly unique & different from the styles mentioned here. To perform these pieces really well, one must work harder at the Abhinaya than Nritta most times! Also, the Mysore Court had a connection with Jayadeva's court so Ashtapadis have been performed traditionally here for many years!


Re: javalis
Posted by Aruna Subbiah on February 13, 2008 at 11:31:22:

In Reply to: Re: javalis posted by Sangeetha on February 04, 2008 at 04:19:46:

Hello, this is just to inform that 'Geliyai Ponathadi' and 'Thathai mozhi' are javalis, in dvd 'The Dancing Face' featuring Guru Prof. Sudharani Raghupathy.
As her disciple, am also happy to say that she was in fact a pioneer in sharing her art through the visual medium, beginning with the first ever T.V. serial on Bharatanatyam, telecast on Doordarshan way back in 1981 (Black&White) and later in 1989(in colour) followed by a video of her dance-drama 'Ramayanam - Balakandam' brought out by Centre for Cultural Resources and Training, New Delhi, and now in the past four years, dvds 'Madura Margam', Navasandhi Kavuthuvam', 'Madura Thillanas', 'Jathis' and of course 'The Dancing Face' which features her exquisite and unparalleled abhinaya through padams and javalis. And ya, do look out for one more album featuring her abhinaya to be released by Super Audio very soon!
Re: javalis
Posted by Sangeetha on February 04, 2008 at 04:19:46:

In Reply to: Re: javalis posted by anon on February 04, 2008 at 01:14:43:

They are not Javalis. It has a few padams and kritis , a divya prapandham and a Mangalam as far as I can see. I brought it in at this point since Ms.Anitha Ratnam mentioned prof. Sudharani Raghupathi as "one of the best interpreters of traditional poetry in the post independence era".

Re: javalis
Posted by anon on February 04, 2008 at 01:14:43:

In Reply to: Re: javalis posted by Sangeetha on February 04, 2008 at 01:01:31:

what r these catagorized as? javalis? or just some kritis where lasya dominates.
Re: javalis
Posted by Sangeetha on February 04, 2008 at 01:01:31:

In Reply to: Re: javalis posted by anita ratnam on February 02, 2008 at 22:48:06:

I read a review in the kalki that "Dancing face" released by Prof. Sudharani Ragupathy is a VCD that features predominantly abhinaya pieces that include
1. Pallandu,Pallandu (Tamil) - Verses from Divya Prabandham
Ragam: Thillang and Revathi /Talam:Adi
Music composed by Vidwan Madurai N. Krishnan

2. Thathai mozhi (Tamil) - Ragam: Kalyani/Talam: Adi (Tisra Nadai)

3. Dhuranadhem (Kannada) - Ragam:Keeravani/Talam: Rupakam
Lyrics: D.V Gundappa, Music Composed by Vidwan Madurai N. Krishnan

4. Evvade (Telugu) - Ragam:Sankarabharanam/Talam:Misrachapu
Composer: Kshetrayya

5. Asai Mugam(Tamil) - Ragam: Jonepuri/Talam:Adi
Composer: Subramania Bharathi

6. Geliyai Ponathadi (Tamil) - Ragam: Behag/Talam:Adi
Lyrics: Vanambadi
Music Composed by Vidwan Madurai N. Krishnan

7. Mangalam (Tamil)
Ragaam: Madhyamavathi/Talam:Adi
Composer: Vidwan Madurai N. Krishnan

Re: javalis
Posted by anita ratnam on February 02, 2008 at 22:48:06:

In Reply to: javalis posted by anyonymous on January 31, 2008 at 23:58:46:

I am a little disappointed that great abhinaya artistes like Sudharani Raghupathy and Sonal Mansingh are not releasing Abhinaya DVDs so that young artistes can compare their subtle style of emoting. A monopoly is never good neither is the rampant copying of one style of a particular artiste good for the art form. I have been lucky to study abhinaya with Sudharani and she is one of the best interpreters of traditional poetry in the post independence era.
Also, we have been cut off from the wonderful repertoire of traditional devadais artistes who are still alive and accessible to many if interested. They are generous women who are visited by a select group of students and scholars who wish to be reminded of the gentle and sensitive way of approaching lyrics. However, they are not stars neither do they have star students who can carry their banner forward.
The danger of lies being told consistently is that, even if the emperor has no clothes, lies eventually become truth =myth=legend.

Re: javalis
Posted by anyonymous on February 02, 2008 at 21:06:43:

In Reply to: Re: javalis posted by GK on February 01, 2008 at 05:40:08:

:i also spent a lot of money on the dvd as i am a fan of priyadarshini govind andd i have not learnt any javalis while i was in india. i wnted to learn and so i ordered for it after a week of nagging my husband. now i regret it so much.i wish priyadarshini had performed in it. only that i admire her technical perfection and i trust her i ordered the dvd and now iam thinking how to make use of it. if my husband comes to know of my dissappointment, then thats it... he will not get me anything so expensive dance related for a decade or i have to bear criticisms for life. all that was still ok if the dvd was worth.may be i shall recoreograph it. can somebody suggest how to deal with a javali please.

to 'anyonymous'..........
Posted by Kiran on February 02, 2008 at 10:58:15:

In Reply to: Re: javalis-Kalanidhi Mami posted by dancer on February 02, 2008 at 09:03:24:

why was this question signed by 'anyonymous"?
who made the dancers so scared?
do you remember how things developed during the process of removal of sonal mansingh from her high position? we indians should be ashamed of this kind of base politics.

Re: javalis-Kalanidhi Mami
Posted by dancer on February 02, 2008 at 09:03:24:

In Reply to: Re: javalis posted by GK on February 01, 2008 at 05:40:08:

Kalanidhi Mami should not be teaching dance ! Studying from her is a clear case of - "ABELINE PARADOX" ...



Re: javalis
Posted by GK on February 01, 2008 at 05:40:08:

In Reply to: javalis posted by anyonymous on January 31, 2008 at 23:58:46:

Most dancers publicly say they like the way kalanidhi mami does it, but privately they say the opposite.

When I watched mami's and her seniors' abhinaya in swathy's dvd, I had the impression I was watching a few cheri anties from the koyambedu market.

This is exactly the reason that Balasaraswati used to publicly (they were more outspoken and frank 60 years ago) condemn Rukmini Devi's abhinaya.

Now, as Anita Ratnam noted, we are living in the age of conformist psychophancy.

javalis
Posted by anyonymous on January 31, 2008 at 23:58:46:

r javalis supposed to be performed the way kalanidhi mami does it in the dvd by swati solutions, or is it just an outline on which v need to add. pls clarify.

Dance and the 5 elements
Posted by anjali on January 31, 2008 at 09:37:43:

If Bharatanatyam is related to the element of fire, Odissi is water, and Mohiniattam is air, which dances represent earth and ether? Does anyone know?

Need help!
Posted by saru on January 29, 2008 at 21:44:56:

Dear Rasikas,

Your help on identifying the two songs and providing with the lyrics, their composer, raga and tala of these songs will be greatly appreciated.

1. Thillana: Begins with;
Thajam thakajam thathajam thomthajam...(ends with the sloka: Shashanku chakra shakritakundalm...namami vishnum shirasha chatur bhujam).

2. Jatheeswaram:
P: D.. D N S R D N S; N R N S D N D M

Re: NFAA Presidential Scholars competition
Posted by Anon on February 03, 2008 at 17:36:05:

In Reply to: Re: NFAA Presidential Scholars competition posted by dancer on January 27, 2008 at 10:53:48:

If you look at the NFAA website, you will notice that for the past five years, on average about two Indian dancers have been invited to perform at the Arts Week. Given that only about fifteen to twenty dancers are invited each year, I would say that two out of twenty is a very good score!
Re: NFAA Presidential Scholars competition
Posted by dancer on February 01, 2008 at 06:41:12:

In Reply to: Re: NFAA Presidential Scholars competition posted by huh on February 01, 2008 at 03:29:15:

Are you on the board? Perhaps you are a failed "lobbyist"? How would you know about the politics behind it? If the dancers chosen are not of the highest caliber, it is plausible that NFAA just doesn't know enough about Indian dance to make a good judgment, as the original poster suggested. Indian competitions have no excuse. You cannot generalize about all competitions, and please do not taint this board with comments such as these:

"Maybe some negros from Harlem think so, but not the NRI's! "

I don't even want to ask what that means.

Re: NFAA Presidential Scholars competition
Posted by huh on February 01, 2008 at 03:29:15:

In Reply to: NFAA Presidential Scholars competition posted by Ajitha on January 24, 2008 at 08:00:53:

This is the first time I hear that NFAA is "one of the most prestigious competition for the young dancers in USA". What makes it prestigious??? Maybe some negros from Harlem think so, but not the NRI's!

Likewise, nobody in India believes that the dancers who get the Presidential Balasri awards are the best dancers. Politics and art are not related in any way, are they?

Leela Menon, Vidya Murthy, Sukanya Rehman may not be so "inept", after all, but you should understand that NFAA competition is a political event. Like in every political election or nomination, the real process is behind the stage, and it is not so much the dancers but their parents who do all the lobbying and who deserve the award for the "best political lobbying specialist".

Pooja Kumar and Mythili Prakash can relax: all the rasikas know very well that these two youngsters are excellent, and perhaps are the best two in the States. No need for them to take part in the USA Presidential rock-n-roll contests, hip-hop or bikini shows.

The NRI dancers have to have some dignity and avoid those cheap games.

Re: NFAA Presidential Scholars Call to USA teachers
Posted by Ajitha on January 30, 2008 at 15:04:50:

In Reply to: Re: NFAA Presidential Scholars Call to USA teachers posted by dancer on January 30, 2008 at 09:50:02:

Try this: http://youtube.com/watch?v=PFmhvQRofgs

Or you could buy from their web site.

Re: NFAA Presidential Scholars Call to USA teachers
Posted by Ajitha on January 29, 2008 at 13:00:51:

In Reply to: Re: NFAA Presidential Scholars competition posted by dancer on January 27, 2008 at 10:53:48:

I totally agree to your comments that you have to be a good dancer and presentation skills are important. But who knows enough about Indian dance to make that call. I personally know the students who have attended the Arts week, who have got Level 1, Level 2 and even who got nominated for President's award. Very rarely do the awards indicate the quality of the dancer. 2 or 3 of Indian dance students who got nominated for the Presidents scholar claim that they know more than one form of Indian dance in their resume. It is true that American dance teachers encourage students to broaden their learning but Indian dance forms are so different from each other and it is not possible to master multiple dance forms as Mrinaliniji says on this web site “One has to be completely grounded in one technique before starting another”. I have found some of the President’s nominees don’t even know the word “Aramandi”. It is very easy to make tall claims in the resume but there should be panelists who can see through it. No High school American dance student will claim to have learned from Martha Graham School or Julliard School but frequently Indian dance students claim to heave learned from Kalakshetra or Kathak Kendra. It is up to us to educate NFAA about our art form. 2 +2 minutes is enough to differentiate a pure classical dance from a Bollywood version of classical dance. Please feel free to watch the Indian students’ dance on Google video or you could purchase it directly from NFAA and do research on the award winners before making further comments. I am positive you will surprised by your research findings.

Re: NFAA Presidential Scholars competition
Posted by dancer on January 27, 2008 at 10:53:48:

In Reply to: NFAA Presidential Scholars competition posted by Ajitha on January 24, 2008 at 08:00:53:

Being selected as a Presidential Scholar is incredibly difficult. Indian dancers must compete with dancers of other forms to be invited to Arts Week(i.e. there is no designated spot(s) for a classical Indian dancer(s) specifically). A level I award is extraordinary in itself, and I am so glad that some Indian dancers have made it to this level or at least were invited to attend Arts Week.

There is no "Indian category." Like I said, all dancers compete with each other. It's not just being a good dancer that bags one the nomination or the award. It's about the presentation. If your audition video is not presented well enough, no matter how wonderful you may dance, you will not be invited to Arts Week. If I remember correctly, only 2 mins are given each for the description of technique and for the actual performance. You have to select exactly the right things to say and do to impress the judges.

From NFAA's website:
What Panelists Look For
"Participants need to show originality, individuality; their persona needs to come forward."

There's your answer to the personality issue. It's a BIG factor. But yes, perhaps the panelists are not the best to judge (but I really can't comment as I don't know them). However, students and teachers do need to work together to figure out how to best showcase their dance. In any case, complaining that some talented dancers are not given the Presidential Scholar title is silly, as being recognized in any manner is a great accomplishment. I also fail to see how this is a beauty pageant. I received only an Honorable Mention a few years ago and am proud of that!

Invocatory Items DVD - Swati Solutions
Posted by Megha on January 25, 2008 at 11:19:16:

I just watched the invocatory items dvd - Mallari, Pushpanjali, Kouthuvams etc. produced by Swati Soft solutions and technically directed by Smt. Priyadarsini Govind.

I particularly like that she has included the views of other Gurus - C V Chandrashekar sir , Smt.Radha, Smt. Krishnaveni and Sudharani Raghupathy including the scholars B M Sundaram and Sujata Vijayaraghavan. While we know the dancers very well, I could not identified the scholars before watching this DVD. It is such a blessing to hear what all the teachers and scholars are saying right in one DVD. We usually only get to hear one teacher's view point on a subject matter. This inclusive structure is simply superb. It must have been a lot of work to compile this. It is far easier for Priya ji just to dance and explain everything herself and be done with it. But to have everyone interviewed is a true service and I just wished to acknowledge it with my sincere THANKS.

NFAA Presidential Scholars competition
Posted by Ajitha on January 24, 2008 at 08:00:53:

NFAA (National foundation for Advancement in the Arts http://nfaa.org/) Presidential Scholars competition is one of the most prestigious competition for the young dancers in USA. Dancers get nominated for Presidential scholars in art and get a chance to show case their art in front of the President of United States of America. Many young Indian dancers apply in the world dance category. Though it is very encouraging for Indian American children, it is equally disheartening for them. The reason being the competition is being judged by people whose knowledge in Indian classical dance is very limited. I encourage the great and well known dance teachers of the Indian Diaspora to apply to this organization as panelists. Some of the upcoming and talented dancers have not even made the first cut or if they made it, then they have to satisfy with a level 1 award at the best. Some of the talented dancers like Pooja Kumar, Mythili Prakash, Mangala Maddali, students of Hema Rajagopalan were recognized but never made it for the Presidential award. Mythili Prakash a wonderful dancer deserved to receive the Presidential award. I appeal to senior dancers like Anita Ratnam, Ramya Bharadawaj, Hema Rajgopalan, Malathi Iyengar, Viji Prakash, Ranee Ramaswamy, the Kalakshetra graduates, Ratna Papa, Vemapti Chinna Satyam’s students to join this organization and educate them about Indian arts. The current panelists Leela Menon, Vidya Murthy, Sukanya Rehman are inept in their knowledge and thereby awarding the very non deserving candidates. The two or three candidates who did get nominated were not talented dancers but had a personality. A 17 year old can’t be expected to be a master or even have a preliminary knowledge of Odissi, Bhararathnatyam, Kuchipudi, and Mohniattom. It takes a lifetime to be a master of just one dance form and let organizations like NFAA be educated about Indian art dance. Just like in Jazz, Ballet, Modern dance, let the Indian category be a true test of the talent and not a beauty pageant.

Re: Ardhanari
Posted by Megha on January 23, 2008 at 10:04:37:

In Reply to: Re: Ardhanari posted by konjum info on January 23, 2008 at 00:33:10:

Thanks for your help but I did not see anything new... may be i am missing something, can you pl. point me to the addtions? The log says there is no new entry since July 2007...

Here is some more info - http://www.shaivam.org/siddhanta/feskedha.html

Re: Ardhanari
Posted by konjum info on January 23, 2008 at 00:33:10:

In Reply to: Ardhanari posted by Megha on January 22, 2008 at 16:21:39:

"When the Lord decided to take on the Ardhanari form?"

There is no date. :-) We do not even know the name of that lucky human being who was the "first" to see this form in this kalpa.

In the loka where these eternal forms live, there is no time in the sense that humans use. In fact, this is where the immortal Vedic rishis and the sages like Markandeya live.

By the way, there is a new para added to Wikipedia's entry. Check it out again.

Ardhanari
Posted by Megha on January 22, 2008 at 16:21:39:

Could you please post some information relating to when the Lord decided to take on the Ardhanari form? Any information and context other than what is in wikipedia is much much appreciated. Thanks very much!

Re: Prof Raja
Posted by Hamsa on February 02, 2008 at 03:23:30:

In Reply to: Re: Prof Raja posted by Sukanya Ravindhar on February 02, 2008 at 02:36:23:

Sukanya, in the first place, why did you give the undue importance to this topic by bringing it to the narthaki forum?

Re: Prof Raja
Posted by Sukanya Ravindhar on February 02, 2008 at 02:36:23:

In Reply to: Re: Prof Raja posted by Priya S. on January 25, 2008 at 09:29:07:

Why should an artist of Smt Chitra Visweswaran stature write to someone like "Prof" R.Raju who is unknown .By even considering to write, she will be giving undue importance to this topic .People can say what they want, but we all know, what the truth is . And truth always prevails not statements made by anyone and everyone with access to an computer !!!!!!

Re: derogatory remarks in the Article by Prof Raja
Posted by Sridhar on February 26, 2008 at 13:23:50:

In Reply to: Re: derogatory remarks in the Article by Prof Raja posted by Umaa Sathya Narayanan on January 30, 2008 at 10:45:10:

Gurur Bramha, Gurur Vishnu, Gurur Devo Maheshwara
Gurur Saakshaat Par Bramha, Tasmai Shri Gurave Namah

This is the tradition we belong to.

It is obvious that we cannot tolerate slanderous lies about our revered teacher.

I have no expertise in dance and am merely an occasional visitor to the odd dance concert in town. But I can empathise with the outrage you are feeling over the allegations made by this Raju character. (I don't know that man, neither have I read his article in question, and I don't care to.)

The best way to deal with a baseless charge is to refuse to give it credibility. So let us just ignore it. (We cannot deny the pervert his right to talk nonsense. :)

I have no business to comment on this issue as I am in no way related to it. But I couldn't hold myself from sensing the hurt some of you might have felt. I'd be deeply hurt if a teacher I respected was spoken ill of.

Lastly, I hope I haven't caused any heartache by raking up a dying/dead issue. I am sorry if I have unintentionally added to the confusion.

Best wishes to you all. Loka Samastha Sukino Bhavantu.

Re: derogatory remarks in the Article by Prof Raja
Posted by Umaa Sathya Narayanan on January 30, 2008 at 10:45:10:

In Reply to: Re: derogatory remarks in the Article by Prof Raja posted by dancer on January 25, 2008 at 09:07:54:


I am Smt. Umaa Sathya Narayanan, a disciple of Smt CHitra Visweswaran, and to my great fortune, have been associated with her and Sri R Visweswaran( For, he was my Music Guru), quite closely for the past few years. It pains me when i read such half baked statements made by Prof Raju, in which he mentions about Mrs Chitra Visweswaran being commercial and charging blah blah!!!! I should say, i have been one of those blessed students (among the so many)who has recieved knowledge not in the sense of learning just dance or music...but i would say, in all aspects of life....and IT IS ONLY BECAUSE OF THE SELFLESS, EVER GIVING VIRTUE OF OUR DEAR GURUs, WHOM WE ALL WORSHIP, have we been able to stand up on our own feet!!!! and about charging 4 lacs etc etc.she and her husband Sri R Visweswaran, would be the last persons to ask for money, for, their lives have always been filled with ART ART AND ART ; what else do they have needed????? Even to think of such a thing would be a curse to oneself!!!!

Re: Prof Raja
Posted by Priya S. on January 25, 2008 at 09:29:07:

In Reply to: derogatory remarks in the Article by Prof Raja posted by Sukanya Ravindhar on January 22, 2008 at 00:42:18:

I emailed Prof. R.Raju yesterday, and today I got this peculiar reply:
=================================================
Madam,
I have updated the guide.
Nevertheless I can't remove certain statements from it.
It concerns the statement that Smt.Chitra disclosed according to one of her close relatives.
Despite this, I will remove it if Smt.Chitra writes on paper, signs, scans it and emails me the following statement:
"I have never said that I intentionally withhold any of my knowledge even to my most advanced students in order to control them. If I have ever done so, may I be cursed by the devas and let me be born as a fish for one hundred births!"

Re: derogatory remarks in the Article by Prof Raja
Posted by dancer on January 25, 2008 at 09:07:54:

In Reply to: Re: derogatory remarks in the Article by Prof Raja posted by G.Nandini on January 24, 2008 at 22:07:24:

yeah, "software friends" exposed padmanabhan as a liar, and he shut up

Re: derogatory remarks in the Article by Prof Raja
Posted by G.Nandini on January 24, 2008 at 22:07:24:

In Reply to: Re: derogatory remarks in the Article by Prof Raja posted by Sangeetha on January 24, 2008 at 19:13:09:

I check the earlier posts by Padmanabhan and see the tip of the iceberg was talking about some people shooting DVDs for Jaya? Only after we read the original blogpost, I realised that Padmanabhan will distort anything. I think this tip of the iceberg likes to generate rumours to bewilder the dance community.

Re: derogatory remarks in the Article by Prof Raja
Posted by Sangeetha on January 24, 2008 at 19:13:09:

In Reply to: Re: derogatory remarks in the Article by Prof Raja posted by Priya Murle on January 24, 2008 at 13:14:53:

Dear Priya Murle,
This article is full of crap I agree. But I am not sure if we should tolerate such slander in the name of free speech and expression.(I don't know if freedom ever comes with responsibility to these guys at least!) This article targets not those who are currently pursuing the art form under an able Guru, but prospective students and their parents who might take this dubious article at face value. This can be dangerous and if left unattended may encourage those who have no qualms about faceless/anonymous/proxy maligning of personalities with ulterior motives. I am sure the fact that this has been brought up by Sukanya and Mallika in this forum in itself sends a good message across that things are being noticed. Earlier posts by Padmanabhan if you check was just the tip of the iceberg.

Re: derogatory remarks in the Article by Prof Raja
Posted by Priya Murle on January 24, 2008 at 13:14:53:

In Reply to: Re: derogatory remarks in the Article by Prof Raja posted by mallika on January 22, 2008 at 02:31:16:

To say that I was shocked to read snippets of the article by Prof. Raja is an understatement.The article also carries factually incorrect statements about my guru-- Prof. Sudharani Raghupathy. That is the bane of the internet medium can I say, when people get away with writing such nonsense. Sudha Aunty is a great artiste, been in the field for over 6 decades and is known not only for her artistic prowess but also for her dignity, her qualities of being a wonderful guru-- besides being a great human being. I shudder to think wht the rest of the article carries.
But as I write this I feel that maybe Im giving some person unnecessary attention that he does not definetly deserve?

Re: derogatory remarks in the Article by Prof Raja
Posted by R.Sriram on January 23, 2008 at 11:48:00:

In Reply to: derogatory remarks in the Article by Prof Raja posted by Sukanya Ravindhar on January 22, 2008 at 00:42:18:

I am a parent of Smt. Chitra Visweswaran's student. There is nothing factual about what Prof Raja has said in his article about Smt. Chitra and her institution.
My daughter grew up in the US and decided after completing her high school in the US to spend a year with Smt. Chitra Visweswaran. This was possibly the most exciting time in her life. It was not only the excellent training by Smt. Chitra Visweswaran and guidance by Pandit Visweswaran but also the holistic training she has received in all aspects of dance. She had the benefit of direct lessons from Smt. Chitra Visweswaran but also interacting and working with her senior disciples. Smt. Chitra Visweswaran teaches dance as an expressive story telling and melody of the body. She starts teaching a piece by narrating the story and sets the mood for the dance. She focuses on the whole dance performance and not only the mechanics of it. The environment at Chidambaram Academy of Performing Arts is like a family setting in true gurukulam style. Students of the institution are good friends and help each other out during performances; it is like an extended family. The friendly atmosphere can be directly attributed to Smt. Chitra's approach and style. It is direct testimony to Smt. Chitra and the institution that many of her senior students are also accomplished Nattuvangists.
My daughter liked the environment so much and significantly grew as a dancer that she spends all of her summer and winter vacations at the institution.
Chidambaran Academy of Performing Arts gives equal focus to solo performances and dance dramas and encourages its students to participate in both. Many of her senior students have been receiving acclaim for their solo performances while at the same time dance dramas from the institution has been flourishing and growing. It was heartening to see this December season her older students some of whom run their independent institutions come back to perform under the Chidambaram's banner and guidance from Smt. Chitra Visweswaran. That I think speaks to the respect that her students both present and of the past get from Smt. Chitra Visweswaran.
One of the things that has amazed me is the direct involvement that Smt. Chitra Visweswaran has in the preparation to each of the performances. No performance, solo or group, goes even to orchestra rehearsal without Smt. Chitra Visweswaran reviewing the entire performance. Just to give an example, during this December/ Janurary season there were back to back performances by her students; both solo and group. In spite of a fractured hand, Smt. Chitra Visweswaran was there for each of the reviews and rehearsals, starting in the morning extending late at night, providing her inputs and ensuring the quality was of the highest order.
She sets the highest standards for her students. She gives all of herself during the training and reviewing of performances. That comes out loud and clear in the performances by her students.
Never has Smt. Chitra Visweswaran has asked us for any payment for any of the performances or classes that our daughter has attended. She has always left it to our discretion and decision.
Lastly, for a dancer with so much of accomplishment and achievement, her humility is amazing. That was true of Pandit Visweswaran as well.

Re: derogatory remarks in the Article by Prof Raja
Posted by R.Jai Quehaeni on January 23, 2008 at 09:57:41:

In Reply to: derogatory remarks in the Article by Prof Raja posted by Sukanya Ravindhar on January 22, 2008 at 00:42:18:

Prof. R.Raju from the School of Performing Arts, University of Pondicherry in his article ,Study Bharatanatyam-a comprehensive guide for the dance learner has made some derogatory remarks about our Guru Smt Chitra Visweswaran regarding her teaching methodology, fee that she charges and also that she dosent teach young students. But i am a 14 year old 9th standard student of Saraswathi Kendra and i have been learning dance from Smt. Chitra Visweswaran for the past two years, as i had already completed my arangetram in an another dance school i know how much people charge for an arangetram, and about the money that she charges for the performances is totally not true and for your kind information Akka has never demand any amount, even for the orchestra we pay their money directly. So kindly make sure of the details when you make a comment on great personalities like Chitra Akka who has to my knowledge is being very considerate about her deciples and in fact she directly teaches me and i am fortunate to have a such a legend guiding me.

Re: derogatory remarks in the Article by Prof Raja
Posted by Sangeetha on January 22, 2008 at 06:36:15:

In Reply to: derogatory remarks in the Article by Prof Raja posted by Sukanya Ravindhar on January 22, 2008 at 00:42:18:

Guru Chitra Visweswaran was more than just a Dance Guru. I have also had the oppurtunity of being under her guidance. None of what is said by Prof. R.Raju from the School of Performing Arts, University of Pondicherry in his article(I am not sure if he would start a website with an ambiguous profile) ,Study Bharatanatyam-a comprehensive guide for the dance learner is true.
On the Contrary any student who was associated with the Chidambaram Academy of Performing Arts indeed had a second home where one could learn as much as they wanted to and so much more. The limitations never came from the Guru. I can never forget the time I spent with Chitra Akka and Vishwesh Uncle .In fact recognizing the fact I had an ear for music, they made me start learning music too! I owe so much to Chitra akka, Vishwesh Uncle and the Academy.

Re: derogatory remarks in the Article by Prof Raja
Posted by mallika on January 22, 2008 at 02:31:16:

In Reply to: derogatory remarks in the Article by Prof Raja posted by Sukanya Ravindhar on January 22, 2008 at 00:42:18:

darling sukanya,
this is exactly what i have brought up before, pls read below posts with my name. u will know. i have been subjected to a little harsh language and threat, which i have replied appropriately. i have personally mailed to this prof raju, i dont think thats his true identity, any way, pls read thru and u will understand.



derogatory remarks in the Article by Prof Raja
Posted by Sukanya Ravindhar on January 22, 2008 at 00:42:18:

Prof. R.Raju from the School of Performing Arts, University of Pondicherry in his article ,Study Bharatanatyam-a comprehensive guide for the dance learner has made some derogatory remarks about our Guru Smt Chitra Visweswaran regarding her teaching methodology and fee that she charges . As one of her senior disciples and aslo staff member in her institution i can vouch that she is perhaps one of the most giving gurus of her generation and does not hold back any of her knowledge .Only people who are associated with her will understand what i am saying .Regarding her charging 4 lakhs for an arangetram i request Prof Raja to please introduce me to any one person whom she has taken the said amount from .She has not only ,taught free to so many students but has also personally spent and conducted arangetrams of so many disciples !!!! I request Prof Raja to please veryfy his information before writing his articles


Re: thaye yashoda
Posted by mallika on January 21, 2008 at 17:59:44:

In Reply to: Re: thaye yashoda posted by dancer on January 21, 2008 at 14:08:48:

true. but bhakti in both of these compositions, is very underlined and subtle.

Re: thaye yashoda
Posted by dancer on January 21, 2008 at 14:08:48:

In Reply to: Re: thaye yashoda posted by mallika on January 21, 2008 at 01:22:10:

From what I can tell, neither of the compositions you have mentioned are love songs. Javalis deal with the ups and downs of the relationship between two lovers. Those two compositions simply do not fit the bill.

It is common for any post-varnam piece in a margam to be called a "padam." That's why I said you might see taye yashoda listed as such. Padams can be bhakti-based also (need not be solely sringara). And they are "heavier" than javalis (in meaning, raga, tempo, etc.)


Re: thaye yashoda
Posted by mallika on January 21, 2008 at 01:22:10:

In Reply to: Re: thaye yashoda posted by dancer on January 20, 2008 at 02:58:54:

thanks for the info, but one of my teachers were telling me that the composition 'muddu gare yashoda, mungita mutyam veedu' is a javali. even thaye yashoda is on similar lines, i hope u r getting what i am trying to say, then how can it be a padam? also, the way it is composed, and the choreography of it, and the emotions, the way they are displayed are not the refined padam type. another thing is, padams are love songs, involving various emotions and shades of love. then how this can be classified as a padam. i'll be thankful if u sort this out for me.


Re: thaye yashoda
Posted by dancer on January 20, 2008 at 02:58:54:

In Reply to: thaye yashoda posted by mallika on January 20, 2008 at 02:24:54:

Not a javali or devarnama. Javalis are more explicit and sringara-based. Devarnamas are in Kannada and soaked in bhakti. This is generally classified as a kriti, though in dance programs, it might be announced as a padam.


thaye yashoda
Posted by mallika on January 20, 2008 at 02:24:54:

is the composition 'thaye yashoda undan ayar kulatuditta, mayan gopala krishnan seyyum jalattai keladi' a padam, javali or a devaranama?

pls help ASAP.
rgds & thnks


Re: varNam presented in the dEvadAsI style?
[ Follow Ups ] [ Post Followup ] [ Narthaki Discussion Forum ]

Posted by irisa on February 06, 2008 at 11:45:53:

In Reply to: varNam presented in the dEvadAsI style? posted by meena on January 11, 2008 at 22:24:34:

Thank you for that interesting link. I think the other poster was completely correct in her answer: there is more sringara rasa in the devadasi style. Authors like Anne-Marie Gaston mention that the icon Balasaraswati (who represented the devadasi style) valued sringara rasa as the crucial emotion (but that it was never ever carnal). Her contemporary Rukmini Devi (founder of the Kalakshetra bani) tried to depict devotion in a less physical way. You can find more information in ' From temple to theatre' from Anne-Marie Gaston , although some lectures of Balasaraswato are also published.


Re: varNam presented in the dEvadAsI style?
Posted by mallika on January 17, 2008 at 18:51:00:

In Reply to: varNam presented in the dEvadAsI style? posted by meena on January 11, 2008 at 22:24:34:

more expressive shringara rasa then

Re: observations
Posted by mallika on January 17, 2008 at 18:42:49:

In Reply to: Re: observations posted by mala on January 17, 2008 at 12:42:32:

very true mala. u said what i observed in a better and effective fashion. could v have more people sharing their observations and learnings pls.

Re: varNam presented in the dEvadAsI style?
Posted by meena on January 17, 2008 at 17:40:44:

In Reply to: Re: varNam presented in the dEvadAsI style? posted by mala on January 17, 2008 at 14:32:26:

Mala

U have not ans. to my Q.
I am not interested to know if one enjoyed the reading the review or not.
Thanks anyway!

Re: varNam presented in the dEvadAsI style?
Posted by mala on January 17, 2008 at 14:32:26:

In Reply to: varNam presented in the dEvadAsI style? posted by meena on January 11, 2008 at 22:24:34:

This review was a ridiculous one, but then again, I have never liked the review style of that critic. I feel that they are personal reviews as opposed to professional reviews. And as one one saw the dance and found it completely devoid of sophistication, I would take exception to the statement if I were a devadasi.


Re: observations
Posted by mala on January 17, 2008 at 12:42:32:

In Reply to: Re: observations posted by kavya on January 12, 2008 at 00:30:30:

What a ridiculous statement to make! If you have seen Priyadarsini govind dance, you will realize that you have to be in peak physical form to dance like her. she just makes it look easy. But I have tried to emulate her dance and believe me-it is not easy. When you sit in correct araimandi and your back is not jutting too far out, you will be able to move without swaying your whole body. Unfortunately not too many people sit in araimandi and hence the resultant swaying!

Re: Styles of abhinaya and article about Kalanidhi Narayan
Posted by BN Dancer on January 13, 2008 at 23:15:35:

In Reply to: Styles of abhinaya and article about Kalanidhi Narayan posted by Renuka on January 12, 2008 at 00:39:04:

This is a very interesting article, and I found it among the references on http://bharatanatyam2dance.wordpress.com/ .
Among other things, this blog claims that
"The popular misconception is that some items are “suitable for children” and some are not. The Bhakti movement made use of adult (often crude) human relationships, experiences and feelings, and showed how these can be used as symbols to signify the spiritual relationships, experiences and sentiments. Unfortunately, if we focus more on portraying the details of a token itself instead of what this token stands for, we fail in Natya."


Re: observations
Posted by mallika on January 12, 2008 at 19:22:04:

In Reply to: Re: observations posted by kavya on January 12, 2008 at 00:30:30:

funny enough kavya,
but can u share a few observations that can help please.
actually, u have a look at priyadarshini's dance. its good, i dont agree with her abhinaya, especially in her varnams, her student is better, but technically she has impressed me.

rgds

Styles of abhinaya and article about Kalanidhi Narayan
Posted by Renuka on January 12, 2008 at 00:39:04:

I refer to this: http://narthaki.com/info/articles/art114.html

Can you tell me why this senior dancer spoke on condition of anonymity?

Re: observations
Posted by kavya on January 12, 2008 at 00:30:30:

In Reply to: observations posted by mallika on January 10, 2008 at 22:49:07:

of coruse it is natural that when i move my feet, my waist, hips move too

if priyadarshini actually doesnt fully lift her legs from the floor, while tapping, it means she has grown too old, thats all

varNam presented in the dEvadAsI style?
Posted by meena on January 11, 2008 at 22:24:34:

What is the difference between a varNam presented now-a-days and a varNam presented in the dEvadAsI style?
http://www.hindu.com/ms/2008/01/04/stories/2008010450140700.htm

Re: " Vinayaka Ninnu Vina " Needed Lyrics
Posted by meena on January 11, 2008 at 22:08:16:

In Reply to: Re: " Vinayaka Ninnu Vina " Needed Lyrics posted by Avni on January 11, 2008 at 06:34:26:

Meaning:
O VinAyaka mUrti! who else will protect me?
Because you are full of compassion,
you are mercifulto all who suffer,
and your grace, like the oceans, overflows. I am your servant. So please help me.

Mudra:”gOpAla dAsa" in reference to his guru and father, Gopala Bhagavatar

observations
Posted by mallika on January 10, 2008 at 22:49:07:

recently i have been watching quite a few dance videos. i have noticed that while priyadarshini doing 'tatti mettu', her waist doesnt seem to move, infact, nothing but her feet seems to move. but when i move my feet, my waist, hips move- natural, becoz thats how a human body is designed. this phenomenon i have noticed on dancers like anita, priya murle even to some extent on aruna subbaih. then i took a closer look and priyadarshini- she actually doesnt fully lift her legs from the floor, while tapping- maily while doing 'takita takadhimi' thus creating the superb effect. also, when she gives a pose she puts her leg totally of her toes, her fan of the costume is wide open and looks beautiful. another thing she does is, she joins the heels togther in 180 degree, and while doing the thatthi mettu, she slowly comes fwe, putting one leg's heel slightly overlaping in front of the other's heel. this creates the effect as if only the heel is moving and not any other body part.
while even other dancers look good, while doing steps their waist and hips move, one can c. even that looks good. i have tried priyadarshini's technique in front of my mirror and it works good. its just an obeservation. pls revert back if u have any such obeservations that can help improve or u dont understand anything from above
rgds

Re: Who won the IFAS competition this year?
Posted by chumma on January 06, 2008 at 04:15:06:

In Reply to: Re: Who won the IFAS competition this year? posted by dancer on January 06, 2008 at 03:43:54:

its a matter of style. what can they do if their guru makes them learn too much of lokadharmi, not very subtle lokadharmi. somebody was critisising nri dancers for that ?

in pandanalur pani, abhinaya is more ritualistic, and there is more subtle natyadharmi

Re: Who won the IFAS competition this year?
Posted by dancer on January 06, 2008 at 03:43:54:

In Reply to: Re: Who won the IFAS competition this year? posted by Chindu on January 05, 2008 at 21:37:33:

She deserves it.But! she partly lost her flawless araimaindi,her stamina . now her abhinaya looks phony,nearly as put-on as her senior N.Aishwarya's. What happened?

Re: Who won the IFAS competition this year?
Posted by Chindu on January 05, 2008 at 21:37:33:

In Reply to: Who won the IFAS competition this year? posted by ambika on January 05, 2008 at 09:37:40:

Medha Hari.
Does this girl win everywhere she goes?

: Who won the IFAS competition this year in Chennai?

Who won the IFAS competition this year?
Posted by ambika on January 05, 2008 at 09:37:40:

Who won the IFAS competition this year in Chennai?

Re: We made it-The website Changed too!
Posted by Software friends on January 04, 2008 at 02:09:08:

In Reply to: Re: We made it-The website Changed too! posted by H.Janaki on January 03, 2008 at 01:15:16:

Other original caches
Our
Bharatanatyam DVD’s

On Friday, we were shooting with A. and U. for the NY demo. A lot of communicative psychology and phonetics, and psycholinguistics involved! We were trying to show how to enhance an �ordinary� conversation with natya, and bring the ordinary human interaction to a slightly higher level without making it look artsy. There is a huge gap between what the girls are on the stage and what they are in �everyday situations�. Somehow Alarmel Valli, when she does her introductions on the stage, manages to get into a intermediate, half-meditative-looking, state. I thought A. and U. could try to do it too, but they are just too young. The volume of their attention is very limited. Alarmel�s mind is far more powerful. OK, will try with Sangeetha (her mind is like Alarmel�s, - everybody are still surprised how she managed to bag so many 1st prizes in Bharatanatyam everywhere!) , Vandu and Madhu.

Vandu is stressed with the camera turned on, just like A. and U. I had to cheat them and kept the camera turned on when they thought they were just �rehearsing�. We got excellent, spontaneous fragments. Candid camera #2. When U. is under pressure, the right side of her lower lip moves slightly down, exposing her lower teeth. It is not as bad as Var�s case, where the poor girl�s mouth wriggles with all kind of contortions when she is stressed and tries to be very serious. The funniest thing is, when they are on the stage, these girls are flawless.
This is how U. got the 1st prize (�Best dancer�!) from VDS in Bharatanatyam
this year. H. got �only� a Gold medal. Ch. asked me if the prize �allocation� was right. I told him that U. did not do her best at the VDS performance (Sr. was shocked to hear that U. had learnt all those items in… just 1 week�s time!), and that, in my opinion, H. is far better than U. Bah! they give more weight to abhinaya, what to do with these Chitra Visveswaran�s guys! Sr. has a sharp eye. The other day he told me that the performer�s expressions did not exactly start and end with the start and end of the corresponding words in the song. I said that you cannot expect such synchronization from an 11-year-old girl!
I told Sh. that the school should invite for monthly workshops those 2 old devadasis from Tanjavur who still can do all the 108 karanas. We have to get these karanas from the real parampara, not from some Ph.D.�s intellectual speculations. I am sure there will be a plenty of serious Bharatanatyam dancers who would come for such workshops. I am pressing Sh. to enhance each piece of her choreography with as many karanas as possible. It is a lot of work, and Sh. is very busy. Sh. is my only hope. Sh. has the blessings of Lakshmi, a brilliant intuitive and aesthetic intelligence but little rational intellectuality. Sh. cannot explain things in a logical manner. Damn! Sh. makes my proud intellect feel inferior. We have to do everything before all those stupid dedavasis die out. I do not have the time.

The internet link to see this cache is http://search.conduit.com/Results.aspx?SearchType=SearchGoogleCached&q=cache:jJbLOR2Ehi0J:http%3a%2f%2fbharatanatyam2dance.wordpress.com%2f+Ranjani%20Mala%20Bharatanatyam%20DVD

Re: We made it-The website Changed too!
Posted by Software friends on January 04, 2008 at 02:04:28:

In Reply to: Re: We made it-The website Changed too! posted by Prabha on January 03, 2008 at 21:03:28:

Sorry Prabha!!!
here is an Inter net cache of original posting
December 23, 2007 — bharatanatyam2dance

Today Suva came for the recording of the introductions for our Bharatanatyam DVDs. Although she said she had rehearsed everything properly, she didn’t. She even had to ask Sh. a few questions about how to show a few things. Like “blue colour”! :) Yesterday she didn’t know how to show a “gandharva”!

We briefly got stuck at the 3 Ranjani’s: Shivaranjani, Megharanjani and Janaranjani. While there is very little info on Ranjini herself, this goddess who brings joy and entertains is a very interesting emanation. The girls were probably not very surprised to see me closing my eyes and then, after a while, announcing a verdict:

As there are 3 worlds (the sky, the mid-world and the earth) , so there are 3 Ranjani’s. Shivaranjani brings joy and entertains the Supreme Lord in heaven (S.A. called it “overmind”), Megharanjani (the “Cloud”-goddess) brings joy to the beings of the mid-world (the spirits of mind and the vital world, the world of emotion and feelings), and Janaranjani brings joy to the human beings in the waking state - on earth.

Myself, I am sometimes surprised what words come out of my mouth. But it was a very clear realization. I was thinking about these Ranjani’s before, but somehow never arrived
at a clear vision of their nature.

Had to show Suva how to get to control the eyebrows fully. She said she would try to come to watch K.M.D.Madhula’s (I call her ”Miss Eyebrow”) Bharata natyam recital soon. I explained a few things about assymetric movements of the mouth, explained how to take care of her throat, and all those yoga things. I showed her how I can move my ears and nose (I have not seen anyone who can do it like me, - I am very very proud of my control!)
Hope she will do the exercises properly. Told her how one judge from the Doordarshan grading panel explained to me how they gave A-grades only to the politically connected but clumsy Bharatanatyam dancers.
Suva understood why she didn’t pass. Suva is very beautiful, but a bit stiff, weak and not very expressive.
But I like her. She has a kind heart."

The link for this cache is http://search.conduit.com/Results.aspx?SearchType=SearchGoogleCached&q=cache:jJbLOR2Ehi0J:http%3a%2f%2fbharatanatyam2dance.wordpress.com%2f+Ranjani%20Mala%20Bharatanatyam%20DVD

Re: We made it-The website Changed too!
Posted by Prabha on January 03, 2008 at 21:03:28:

In Reply to: Re: We made it-The website Changed too! posted by Padmanabhan on January 03, 2008 at 03:30:32:

Padmanabhan, what you say is not true. I remember well reading the very first posting. I came across it on Christmas eve, and I remember well that the video recording sessions were not for Jaya q or for anything in particular. You are imagining too much.The same with the 'Sh' names. Memory problems? Or do you do it on purpose?


For Urvasi,... from musings
Posted by Raga on January 03, 2008 at 10:46:36:

Pls allow me to reply to your mail of Dec. 26th,
After consulting with the best of my books to confirm my understanding of the topic, I have to agree with Mallika from musings that Urvasi and Arjuna were not contemporaries. You may ask why?

The Vedas are very old, as old or even older are the kinglists of the Puranas. In Vishnu Purana the Puru Lunar kinglist starts with king Puru Ravas married to Urvasi, next is their son Ayu. There are other kinglists as well, giving other names to these persons like Indra, but this is another topic. Now the date of Puru Ravas can be backcounted from (Rama) Krishna to roughly before 3000 BC. Arjuna, the Pandava prince would be listed a few centuries later, a great-great great...grandson of Urvasi.

My personal opinion based on archaeology is that Urvasi means Asi of Urfa, Urfa Asi. If you google earth you will find this place in modern Turkey, long named Edessa, now again the older name Urfa
is used. There the first temples of history of 10.000 BC were recently uncovered, there some of the earliest dance figures are found depicted. According to the earliest manuscripts known Urf Asi was sent from Urfa to the court of Indra at Akashi to tempt him ( possibly by dancing, although not mentioned as such), the outcome was their marriage and Urf Asi was a loyal queen to her husband ever since. I have an idea how this could be choreographed for dancing. If anyone manages to leave their email somehow, I can mail them a preliminary manuscript for more understanding.

my favourite link of the day:

http://www.musicarchaeology.org/index_7224_de.html

The 6th Symposium of the International Study Group on Music Archaeology, Ethnological Museum Berlin, Germany is planned in Berlin for September 9-13, 2008.


Re: We made it-The website Changed too!
Posted by Padmanabhan on January 03, 2008 at 03:30:32:

In Reply to: Re: We made it-The website Changed too! posted by H.Janaki on January 03, 2008 at 01:15:16:

H. Janaki that's not true. It was sh before and Shantha now with previous references to VDS Academy Awards,and Video recording sessions for Jaya q now erased.

Funny now the blog duplicates a posting from http://prathiba-dance.blogspot.com/2007/12/is-it-good-enough.html dated 5 th December.

Whoever this is stop it here. You defamed now you are plagiarizing to cover up your mistakes.

Re: We made it-The website Changed too!
Posted by H.Janaki on January 03, 2008 at 01:15:16:

In Reply to: We made it-The website Changed too! posted by Padmanabhan on January 02, 2008 at 19:31:41:

Also I noted that it changes.FirstI saw this blog on 23December,but it was 'Sumathi',then changed to 'Sheela',then 'Shantha'.

: Whomsoever it was has taken back a few of the worthless statements http://bharatanatyam2dance.wordpress.com/
:
: And funniest thing is she has replaces"Sheela/Sh" with Shantha. Poor Shantha
:
: This Board really made it.
: Artists and Audience for art are supposed to be cultured. Please dont give yourselves away. And Sheela Unnikrishnan you better take care who is with you.He or She might unknowingly spoil your reputation.
: That goes for all artists discipline your fans and well wishers

We made it-The website Changed too!
Posted by Padmanabhan on January 02, 2008 at 19:31:41:

In Reply to: Re: Derogatory statements on Tanjore Quartet and Dance Gurus posted by mallika` on January 02, 2008 at 05:12:33:

Whomsoever it was has taken back a few of the worthless statements http://bharatanatyam2dance.wordpress.com/

And funniest thing is she has replaces"Sheela/Sh" with Shantha. Poor Shantha

This Board really made it.
Artists and Audience for art are supposed to be cultured. Please dont give yourselves away. And Sheela Unnikrishnan you better take care who is with you.He or She might unknowingly spoil your reputation.
That goes for all artists discipline your fans and well wishers

Follow Ups:

    Re: We made it-The website Changed too! - H.Janaki 01:15:16 01/03/08 (8)
        Re: We made it-The website Changed too! - Software friends 02:09:08 01/04/08 (0)
        Re: We made it-The website Changed too! - Padmanabhan 03:30:32 01/03/08 (6)
            Re: We made it-The website Changed too! - Prabha 21:03:28 01/03/08 (1)
                Re: We made it-The website Changed too! - Software friends 02:04:28 01/04/08 (0)
            Re: We made it-The website Changed too! - Aparna Raman 05:33:54 01/03/08 (0)
            Jaya tv - mani 04:43:31 01/03/08 (2)
                Re: Jaya tv - ashwini 11:36:50 01/03/08 (1)
                    Re: Jaya tv - NRI Dancer 01:42:56 01/04/08 (0)
    Re: We made it-The website Changed too! - Sangeetha 22:02:51 01/02/08 (0)

Sivasri's Arangetram video- this board set things right
Posted by Padmanabhan on January 02, 2008 at 19:09:47:

In Reply to: Re: Derogatory statements on Tanjore Quartet and Dance Gur posted by anu on January 02, 2008 at 11:48:30:

Dear Anu,

Sacred Dance or whoever has overnight removed the comments that earlier pointed out. But she has had the video and its comments long enough for so many of us to see. Now the videos refer us to her website sivasri.org. But unfortunately for her a few or the internet caches retain the original statement:-
eg >Click and Video.com
Sivasri's arangetram - Varnam. Although this girl is not as well-trained as the top 11-year-olds like Harinie ...
clickandvideo.com/en_youtube.php?word=Harinie - 19k - Cached - Similar pages - Note this
Here's something that will explain things from google (I have just cut and paste it from the search)
"This is G o o g l e's cache of http://clickandvideo.com/en_youtube.php?word=Harinie as retrieved on 27 Nov 2007 14:10:36 GMT.
G o o g l e's cache is the snapshot that we took of the page as we crawled the web.
The page may have changed since that time. Click here for the current page without highlighting.
This cached page may reference images which are no longer available. Click here for the cached text only.
To link to or bookmark this page, use the following url: http://www.google.com/search?q=cache:XpB6vr59SOkJ:clickandvideo.com/en_youtube.php%3Fword%3DHarinie+Sivasri's+videos&hl=en&ct=clnk&cd=18
Here is the total cached text
Although this girl is not as well-trained as the top 11-year-olds like Harinie Jeevitha of Sri Devi Nrithyalaya, we hope that Sivasri will find a better guru who would be worthy of her talent."
Which was posted along with all the videos posted at all kinds of websites all around the net.
That's pretty clear isnt it?
But I am glad Sivasri and Roja Kannan can finally be happy. Infact they owe us a thank you.
A big thankyou to Narthaki too!
And Roja Kannan, Sacred Dance is a faceless nobody to bark at you. Keep up your good work!

International Conference in Slovenia
Posted by timoty on January 02, 2008 at 12:12:56:

International Conference
"Performing Arts Training Today"

April 14-17, 2008
Bovec, Slovenia - in the heart of Julian Alps

The conference is open to performers, performing arts educators and teachers from all over the world interested in the research of topical questions and processes in contemporary performing arts education and training.

Conference web page: http://www.iugte.com/projects/Conference.php
Registration details: http://www.iugte.com/projects/conf.reg.php


International Performers Village 08
Posted by leila on January 02, 2008 at 12:12:13:

International Performers Village 08

August 1-28, 2008
Malpils, Latvia

The Village is open to professional actors, dancers, singers, musicians as well as directors, choreographers, playwrights, scriptwriters and stage designers from different countries, creative genres, techniques and styles. Film makers, photographers, body painters, mask makers and multimedia artists will also find a role in this process.

If you'd like to know more... http://www.iugte.com/projects/Performance


International Festival THEATRE METHODS 08
Posted by geremy on January 02, 2008 at 12:10:29:

International Festival-Fair

THEATRE METHODS 08
Between Tradition and Contemporaneity

July 7-13, 2008
Malpils, Latvia

"TM" is the annual professional festival-fair bringing up the question of the
Bridge between Tradition and Contemporaneity in performing arts. It is uniting performers from all over the world interested in the research of theatre methods between tradition and contemporaneity. Participants: actors, directors, dancers, choreographers, teachers, playwrights, stage designers, script writers, theatre critics,
journalists, cultural managers.

TM08 details: http://www.iugte.com/projects/TM08.php
Registration: http://www.iugte.com/projects/register.php

Re: Derogatory statements on Tanjore Quartet and Dance Gur
Posted by anu on January 02, 2008 at 11:48:30:

In Reply to: Re: Derogatory statements on Tanjore Quartet and Dance Gur posted by Sangeetha on January 02, 2008 at 06:13:30:

you mean on youtube there was that ardent fan of sridevinrithyalaya who also posted sivasri's vids?

Follow Ups:

    Sivasri's Arangetram video- this board set things right - Padmanabhan 19:09:47 01/02/08 (0)
Posted by Sangeetha on January 02, 2008 at 06:13:30:

In Reply to: Re: Derogatory statements on Tanjore Quartet and Dance Gurus posted by mallika` on January 02, 2008 at 05:12:33:

There is no authorship credential to this blog. So it isn't an authoritative statement or anything. Even the author doesn't want to put her name against it...
The only thing I could make out about this blog was this was an ardent supporter of Sheela Unnikrishnan.They do have a web presence I must say and some ardent devotees. But sometimes passion can make people hypercritical and biased.

Here is something positive about this blog..
For once Sivasri has received a good appraisal. I was so upset about how this child's posting on You tube began with the words"Although not trained so well like other 9 year olds comparing her with other students of Sridevi Nrithyalaya".
I hope this positivity continues in her blog and outlook towards other artists and Gurus.

Re: Derogatory statements on Tanjore Quartet and Dance Gurus
Posted by Raga on January 02, 2008 at 05:39:02:

In Reply to: Derogatory statements on Tanjore Quartet and Dance Gurus posted by Padmanabhan on January 02, 2008 at 02:12:41:

Hi,
It seems that anything of relevance posted somewhere
finally turns up at narthaki? I wouldn t be worried about the content, since it is the autors own opinion, noone has to accept it as facevalue. Nevertheless it is the autors research, which I respect.

To compensate at least for Urmila Satyanarayanan
there is a very favourable blog at Life is not Bollywood
http://cdabntp.blogspot.com/
Vaishnava Bharathi- a dance pilgrimage by Urmila Satyanarayanan

My favourite link of the day (needs free real player installed)
Maria-Kiran danse (real video - 9mn46)
http://www.arte.tv/fr/art-musique/die-nacht-la-nuit/die-nacht-64/1611152,CmC=1611276.html

Re: Derogatory statements on Tanjore Quartet and Dance Gurus
Posted by mallika` on January 02, 2008 at 05:12:33:

In Reply to: Derogatory statements on Tanjore Quartet and Dance Gurus posted by Padmanabhan on January 02, 2008 at 02:12:41:

coiincidently so, even i read this article today. it makes me think to know the origins of mohiniattam.
what the writer says is bad enough, atleast while passing such comments one should give his/her credentials so that the reader can make his/her opinion abt the article,whether or not to take the article and comments in it seriously. few comments by the same writer in other article were very honest and true, but in this one, i guess, the writer went a litter overboard.

Derogatory statements on Tanjore Quartet and Dance Gurus
Posted by Padmanabhan on January 02, 2008 at 02:12:41:

I came across this anonynymous blog with derogatory statement on Tanjore Quartet and famous Bharathanatyam Gurus while searching for content on Classal december season in Chennai:-
"... I do not particularly like the Thanjore Quartet at all. The royal musicians, well. Vadivelu made all Indians believe that violin is a classical Indian instrument, and that Mohiniattam, which he invented to the order of Swathi Thirunal, is a classical Indian dance. " the blog says.

The blog also insults Urmila Sathyanarayanan, Krishnakumari Narendran,Roja Kannan,Shobana, Shivani Thakkar . Especially Urmila.

Source:http://bharatanatyam2dance.wordpress.com/

Does anonymity give anyone the right to express such views? Such views are better contained for internet is a powerful media.

 Posted by mallika on January 01, 2008 at 21:05:47:

pls read the earlier msg i left for u,
in continuation with that,
under manu vaivasvata, pururava was his descendent whom Urvasi loved and had a son named AYu. under manu vaivasvata the indra was named purandara.

rgds
mallika

Posted by mallika on January 01, 2008 at 20:55:45:

In Reply to: Re: musings posted by urvasi on December 26, 2007 at 00:49:21:

very interesting read.
i have done a full length research of aroung 500 pgs (after editing) on mythology and thats how i concluded that urvasi was not sent by indra. i shall also tell u the name of the indra under whom urvasi danced after running thru my notes.
i dont blame u, as our mythology is full of contradictions. but the very fact that arjuna's shapam' was made easy by indra reflects and underlines the probability that urvasi was not sent by him and not even to test arjuna.
rgds
mallika
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